Balance Of Power

Balance of Power…..

Whilst reading through the professional Ethics researcher, I have begun to think about what potential ethical issues I may hit undergoing an enquiry that will most probably involve questioning both dancers in my professional community, as well as members of the public who have never danced in my local community.

 I am looking particularly at a passage entitled the ‘Power of the Researcher’. Introducing ourselves as researchers, we run the risk of influencing the attitudes of the inquiry. Has anyone begun to think about ways in which they ensure they maintain an objective approach, and keep the enquiry research un bias? I am thinking about wanting to create a verbal communication situation potentially, so I would need to consider ways in which to record what is said and how to capture that ‘rawness’ of emotion caught then and there in the moment. I may also wish to compose a questionnaire, so careful considerations will need to go into developing questions that have meaning and intend, are not closed, or questions in which I already know the answer too. Would anyone have any pointers as to guidelines to follow when considering questioning the public about the role of Dance in Society? Has anyone undergone such, or similar practical research before?  Perhaps the next section of the module ‘Professional tools of enquiry’ will enhance my knowledge here….

Nicole mentioned on a post of mine about how sometimes we can ‘be blinded by our passion’, which I think is very true. So to step outside of our role as an enthusiast for dance, or acting, or photography for example, to encourage a fair and balanced enquiry will be potentially very difficult. In terms of my personal enquiry, and my interest in the role of dance in society, focusing on what the role of engagement of dance has on my local community is crucial. Developing further on this idea, I am releasing that I need to ensure I collect and collaborate opinions from fellow professional performers, like many of you on the Bapp program, but actually consider the voices of amateurs and semi – pro’s who may merely be stimulated by moving to music or are enthused by the social aspect that dance classes can provide for example. I am considering ways in which I can introduce myself efficiently and professionally in order to gain co-operation and a sense of trust with my participants, letting them know who I am, what my intents are, and what I will do with any findings I may discover are worth sharing for the greater good of the dance and dance teaching community. However, at the same time, conducting myself in such a way that I represent a sense of openness and willingness to listen and value all opinions, even if I do not share them.  Preparation for how I can maintain productivity during communication when potentially someone may say they have absolutely no interest in Dance whatsoever for example need to be considered. It may be that, as an individual practitioner passion about dance, my views on my moral decisions will undoubtedly differ from some participants, but to find the average thoughts among the local community in which I am involved in will mean having to record as many different opinions as possible. How we behave in an enquiry process sends out signals to those taking part – I need to think further into what is the best way to behave to remain neutral. I have found a quote (Editorial Research in Drama Education 10 (2)) useful to consider here:

‘Ethics throws a spotlight on the balance of power between the researcher and the researched’.

It is our judgment on this ‘balance of power’ that is so crucial to making such the outcomes of enquiry are not only ethical, but beneficial to others in similar professional communities.